Painting I
ARTS 207.003—Fall 2014
Instructor: M. Cornelia Oliver
office hours by appointment
Rm: ART 245.
T/R 5:30 – 8:15 PM
-Hans Hofmann
COURSE DESCRIPTION:
3 hours. This is an introductory studio course. Students
will investigate traditional materials/media, tools, and techniques, while
developing their own visual language within the context of contemporary
painting practice. This course builds upon the curriculum and language of
Drawing I and Art Practices I (or 2-D Design), and has similar emphasis placed
on developing descriptive and perceptual skills, color theory, and composition.
You should expect to work a
minimum of eight hours a week outside of class on your assignments.
Required prerequisites: Art 106, Art 125. Failure to
meet a prerequisite may result in a student being dropped from the class at any
time during the term.
COURSE OBJECTIVES:
1. Use drawing experience and knowledge of composition and color theory to
further examine relationships between line, value, color, and texture.
2. To demonstrate the ability to create three-dimensional imagery within a
two-dimensional surface.
3.
Show an understanding and skillful
handling of new tools, materials, concepts, and methods.
4.
Create multiple supports (stretched
paper, panel, canvas board, canvas on stretchers) and be aware of there
function and handling.
5.
Demonstrate
accomplishment in understanding traditional practices with materials and tools
of the painting studio. Use oil paint and allied mediums to full advantage and
efficiency in accomplishment of goals in painting compositions, creative
concepts, and innovative ideas.
6.
You will begin to develop an
awareness of your artistic expression and how you fit into
contemporary art
practices: While
we will work primarily from observation, you will be working both to build
skill with the media, aiming to develop a personal conceptual painting practice.
You will develop analytical skills using traditional methods and
techniques of paint application. Once this is achieved students will be
encouraged to conceptualize subject matter linked with their own creative
concerns, experimentation, and self-expression in a final, culminative project.
STRUCTURE:
Students will explore a variety of
painterly techniques in wet media through the rendering of observational and
academic studies in-class. The
course is broken up into two parts: 1) IN CLASS studies, exercises, and
discussions and 2) six painting projects focused around the exploration of tool-handling,
paint, pigment and surface (OUT-OF-CLASS). In addition to completing these paintings,
you will begin to develop a critical voice in regards to your own work and the
work of others. We will critique works regularly, though not every assignment
will require a critique. Emphasis on self-identity as a painter will be drawn
out.
Notes, critiques, and sketches must be
kept in a notebook throughout the semester.
(subject to change)
GRADES:
In-class drawings and paintings, blog/
homework assignments (portfolio check) (50%)
YOU MUST CHECK BLOG & EMAIL DAILY FOR ALL
ASSIGNMENTS AND UPDATES! YOU ARE RESPONSIBLE FOR THIS INFORMATION!
Out-of-class projects (50%) SEE BELOW:
1.
50/4. 50 images completed in 4 hours.
Timed, numbered, and labeled. Open media.
2.
DETAILED STILL LIFE (acrylic, full-color, NO BLACK on panel) Begun in
class, you will need to complete this outside of class time.
3.
LANDSCAPE (plein air, from life, oil, canvas board) Begun in
class, you will need to complete this outside of class time.
4.
PSYCHOLOGICAL SELF-PORTRAIT (from life, oil, stretched canvas) Done entirely
OUTSIDE of class.
5.
MASTER COPY/ MASTER STUDY (OPEN MEDIA, open support) You will be asked to choose work from a contemporary artist to
research and replicate using skills developed in class (MASTER COPY). This is a
painting assignment, and will be in color. You will be asked to present both
the original image you have chosen, as well as your own. Additionally you will create a SECOND, original work (MASTER STUDY)
in the style of your master. This is to be done from life, and MUST
seem as if it came from the same studio.
6.
FINAL PAINTING: OPEN! No restrictions!
Our work from the semester
is used as a catalyst for the final painting.
In-Class Critiques:
While critiques may become heated,
personal attacks will not be tolerated. Honesty is appreciated and encouraged when
talking about artwork and concepts, but negative comments about individuals
themselves are unnecessary, unprofessional, and counterproductive. Offending parties
may be asked to leave critique. Art is personal, and the need to discuss
personal themes may arise, so we, as fellow artists, must walk a thin line
during critiques. Keeping a mature, thoughtful head will be a must for students
in this class. Attendance
during critiques is absolutely required and will not be excused. Learning
to speak effectively and knowledgably about art will be a critical part of this
course.
Evaluation and Assessment: Drawings and paintings will not be
graded as products in a vacuum. The grade given for each drawing assignment
will reflect several qualities involved in the course of its production. These
include, when appropriate:
•Accomplishment of any stated
parameters
•The level of ambition taken to the
project
•A commitment to craftsmanship at the
highest-level possible
•Use of class time--reflected in work
ethic, attendance, and punctuality
•Participation in discussions or
critiques.
YOUR RESPONSES MUST BE POSTED TO CLASS BLOG. You will receive a
final portfolio review, during which you will be graded.
Grades will be defined
as follows:
A = Excellent:
Expansive investigation of ideas and excellent composition. All assignments
completed on time and executed well. Insightful contributions to class
discussions and critiques. Goes substantially beyond minimum requirements.
B = Good:
Substantial investigation of ideas with good composition and good
craftsmanship. All assignments completed on time, insightful contributions to
critiques and class discussions.
C = Fair (Average):
Assignments done competently and on time.
D = Passing: Two or
more late projects, limited investigation of ideas, poor craftsmanship,
incoherent compositions, minimal contribution to critiques, may have more than
4 absences.
F = Failure: Course
failure due to minimal idea development, poor craftsmanship, incoherent
compositions, lack of participation, late assignments, may have more than 3
absences.
GUIDELINES:
Please
be honest.
Be
respectful of your teacher and classmates. Be respectful of the classroom. If
you are
disruptive you will be asked to leave. Needless to say, immature behavior will not be
tolerated and will result in immediate removal from class and an “F” grade. Be discreet if you need to leave the room for a moment.
This
class puts parameters on drawing technique with the effort of teaching specific
skill sets.
You must stay within these parameters. For example, if an
assignment specifies that you cannot use a
photograph as a source and must
draw from life, draw from life.
Come
to class on time and set up quickly. Have all your materials ready and set up.
Return from
breaks on time. Failure to do so will result in a tardy or
absence. (See attendance policy below)
Have
any assigned reading and/or homework completed before class, and ready to be
turned in at
the beginning of class (ex: name on back, slip sheet attached via
paperclip.) This helps us use
class time most effectively. We will clean up
the classroom as a group periodically.
Absolutely NO photography of your
source material (i.e. still life, models) is allowed without specific
permission. You will not be able to learn how to translate 3-d objects into 2-d
if you have
your camera do it for you, and it is a form of cheating. If you have a problem in the class please
follow the chain of command: Only after I have been
consulted should you bring
the matter to a divisional chair or dean.
MUSIC
POLICY: Music will be played in
class for all to hear. If you have music that you would like to share with the
class you may bring it in. The class will vote and “veto” some songs, artists,
or even whole genres of music to keep the community of the classroom happy.
Headphones will not be permitted in class until the last few weeks of the
course when we will be working individually. Instructor has discretion and
final say in all matters.
CELL
PHONE POLICY:
No cell phones or other communication devices will be used during class time.
You may use your phones during class breaks only. No texting, messaging,
emailing, or answering of phones will be permitted. Use of cell phones during class
will count as an absence.
EMAIL
POLICY: I expect that you will check your email daily. If there is any
reason to contact you, I will do so via e-mail. If you have a particular e-mail
you prefer that I use, be sure to let me know. The most reliable way to reach
me is via email.
ATTENDANCE
POLICY: Attendance will be taken at the start
of class. Five minutes after the start of class, a student is considered tardy.
15 minutes late a student is encouraged to stay but will be considered absent.
No unexcused absences will
be allowed during the semester. Absences, without significant mitigating
circumstances (which will require documentation), will each result in the
lowering of the your grade by 10 points. You will be allowed TWO excused
absences (with documentation) before this effects your grade. Should
this process make passing the course a technical impossibility, you will be
dropped from the course. Two
failures to arrive on time and prepared for class (tardy) will be the
equivalent of one absence (10 points off grade).
New lessons and concepts will be
introduced DAILY. You
are expected to attend every class. The learning environment
experienced in the class is impossible to duplicate, so it is your best
interest to do so. Attendance for critiques is mandatory.
When a class is missed, it
is your responsibility to find out what was missed and what is expected of you.
If you come to me, I will catch you up as best I can without affecting my
responsibilities to the rest of the class. If you get the missed material from
classmates, you are accountable for all information.
Late Work: No late work will be accepted for this
course. If an excused absence occurs due to mitigating circumstances and
prevents the completion of work, it is the student’s responsibility to contact
the instructor before the project is due. Any new due dates set will be subject
to the same policy.
Storage of Materials and Work, and
Studio Rules: It is
strongly suggested that students get a locker in the art building to store
supplies. It is not safe to leave materials in the drawing studio...they will
be stolen. In addition, CVAD does not provide long-term storage of work.
Food & Drink: There will be no smoking allowed in class. Eating and drinking will be
allowed with restrictions:
NO BOOZE. Because of the long-format nature of each
session I understand that you may need to eat something to give you fuel to
stay fresh and awake. Do this before class or eat during break time. Drinks in
a closed (spill-proof) container will be allowed during class. Just make sure
you are clean about it.
Center for Student’s Rights and
Responsibilities: The
student is reminded of his or her rights and responsibilities, both
academically and personally, as a student at the University of New Mexico.
CVAD Emergency Procedure: In case of emergency (alarm will
sound), please follow the building evacuation plans posted on each floor of
your building and proceed to the nearest parking lot. In case of tornado
(campus sirens will sound) or other weather related threat, please go to the nearest
hallway or room on your floor without exterior windows and remain their until an all clear signal is sounded. Follow
the instructions of your teachers and act accordingly.
The instructor reserves
the right to make changes to anything about this class, including requirements,
schedule, assignments, etc., at any time during the semester. All changes will
be announced in class. It is your responsibility to be in class to hear
possible changes and adjust accordingly. No excuses for failure to adjust to
changes in this course will be heard.
AMERICAN DISABILITIES ACT: The following statement should appear
on your syllabus. “The College of Visual Arts and Design is committed to full
academic access for all qualified students, including those with disabilities.
In keeping with this commitment and in order to facilitate equality of
educational access, faculty members in the College will make reasonable
accommodations for qualified students with a disability, such as appropriate
adjustments to the classroom environment and the teaching, testing, or learning
methodologies when doing so does not fundamentally alter the course. If you
have a disability, it is your responsibility to obtain verifying information from
the Office of Disability Accommodation (ODA) and to inform me of your need for
an accommodation. Requests for accommodation must be given to me no later than
the first week of classes for students registered with the ODA as of the beginning of the current semester. If you register with the
ODA after the first week of classes, your accommodation requests will be
considered after this deadline.
Grades assigned before an accommodation is
provided will not be changed. Information about how to obtain academic
accommodations can be found in UNT Policy 18.1.14, at www.unt.edu/oda, and by
visiting the ODA the University Union. You also may call the ODA.
Required Materials: (WRITE YOUR NAME ON EVERYTHING)
Text: There is no assigned text in the course, however there
is assigned reading throughout the semester. You are responsible for this
material.
We will
be covering BASICS, but this is not an inexpensive course: Please check what
you already have and purchase only WHAT YOU NEED for this course! Have your materials
IN CLASS when required!
We will begin with drawing materials, move into acrylics,
and then oil. Your final two projects are open choice of materials. You will be
expected to have all materials when required in class.
DRAWING
SUPPLIES (will be used throughout):
Newsprint pad (18”x 24”)
Sketchbook
Charcoal (Compressed, Vine)
Graphite Stick
Pencils (NON-MECHANICAL)
Erasers (Gummy, Stick, White)
For
Stretching Paper:
- 3’x2’ piece of masonite, slick type
Note: get 1/4” or 1/8” thick if possible @ Home Depot or Lowes. It comes in
large sheets 8 x 4’ (about $ 9.00) – ask to cut your masonite to requested size
(Keep extra for the upcoming painting projects and building your own panel -à dimensions
you will need: 24 x 36”, 12 x 16”, 14 x 18”.
- 3 – 22 x 30” - white, 140 lb or
heavier, hot pressed watercolor paper by Arches or Strathmore. Other brands
with equivalent characteristics are OK
- 1 – 19.5 x 25.5”- Styglan Black, 98lb
or heavier, textured archival, pastel paper by Canson, or other brands
with similar characteristics.
- Gummed (watercolor) Paper Tape - 2”
wide
- Matte or clear gel medium – if you
have it (Liquitex or Golden/acrylics) or get GAC-100 acrylic medium -
small
- 4” Sponge Brush
- Sponge
- Matt knife with retractable blade
Wood, Canvas
You will be required to build supports and
stretch your canvases. There will be a shop orientation as well as in class demonstrations.
Wood can be purchased locally (see list), canvases will be provided.
- Staple gun (with refills)
- Canvas pliers (essential)
- Sand paper assorted (range of grits,150- 800 )
- Sanding blocks/optional
Note: additional information on materials
and support’s dimensions will be provided.
You will need to provide supports
for all of your paintings, i.e. canvases, Masonite, board, etc.
We will discuss appropriate materials and painting surfaces in class. This is
open for you to experiment, however. Colored, and clear grounds are welcome for
experimentation
Ground - Gallon Bucket of Acrylic Gesso (toned
gesso optional for certain projects, we will discuss in class)
(MINUS SUPPORTS!! We will discuss these in class and you will purchase these accordingly):
Plastic palettes with a LID or butcher tray with coordinating plexi-glass and plastic wrap. You MUST be able to preserve your paint! In New Mexico EVERYTHING DRIES OUT! Don’t waste money or time on open-faced palettes unless you plan on using fresh pain EVERY TIME. I suggest a Materson Sta-Wet Palette (blue or red, any size works) along with this you will need:
Palette liners (a roll of WHITE wax paper or butcher paper works too)
Artbin or tackle box to hold everything in (you may need two—one for acrylic and one for oil, or you can switch things out as you see fit)
Brush soap or vegetable oil / baby oil, and a simple dish soap which cuts grease for clean up
Large brush for Gesso
Masking tape
Painting and Palette knifes in various sizes
Rags or blue Shop towels
White China Marker or compressed charcoal pencil
Gloves (latex)/optional
Camera
- if available
Apron/optional
Color
wheel.
Viewfinder, measuring stick, gray scale /optional
Paint Brushes: look for sets
that include an assortment, these are usually cheaper. Get a good range of
short to long bristle, small to extra-large (2, 3, 5, 7/8, 10/12) including
flats, angles, fan, mops, bright, filberts, rounds (get extra of Maxine’s mops,
domed rounds and fans) Choose a variety of
bristle (usually made from hog hair) and blending - nylon and synthetic types of brushes for cost effectiveness. Get any other brushes
that catch your interest. You will need brushed for both acrylic and oil. Some
do both. Be smart with your purchases.
Materials
for Acrylics: Mediums
Acrylic
paint retarder (2 oz)
GAC 100, acrylic fluid medium (8 oz or larger)
Neo Megilp – 2oz – optional
Plastic cups for water
Paper towels or rags
Paint: (I recommend getting Lukas Cryl (from jerrysartarama.com), they
are best for the price. Other good brands are Golden, Winsor Nweton, and
Liquitex. Other brands better than these are definitely OK.) Larger tube
recommended, 2 oz minimum.
-Titanium White- 200 ml
tube
- Mars Black
- Cadmium Red Medium
- Cadmium Yellow
-Cobalt Blue
- Burnt Sienna
- We
will be color mixing and creating a full palette from this collection; however,
any additional colors you like/have you are welcome to bring. They do sell
kits.
Materials
for Oils;
Mediums
ONLY O.M.S. (odorless
mineral spirits). Gamblin oil painting mediums are the safest.
Gamblin
Gamsol mineral spirits - 16oz
Galkyd Medium #1 (dries overnight, gets tacky quickly) – 2oz
Neo Megilp – 2oz - optional
Cold Wax – 4oz
Stand Oil – 8oz or smaller
2 small, glass jars with cap (one for clean Gamsol & one for
dirty Gamsol, medium)
+
2 small/medium in size squeeze
bottle and/or eye dropper bottle (for
your own medium)
Paint: (I recommend getting Winton by Winsor & Newton, they are best
for the price. Other good brands are Gamblin, Utrecht, Grumbacher, Rembrant or
Van Gogh. Other brands better than these are definitely OK.) Larger tube
recommended, 2 oz minimum.
-Titanium
White - 200ml tube
- Ivory
Black
-
Permanent Green
- Viridian
- Cobalt
Violet
- Alizarin
Crimson
- Burnt
Sienna
- Cadmium
Red
- Burnt or Raw Umber
- Cadmium
Yellow Light
- Yellow
Ochre
- Indian Yellow
- Phthalo
Blue
-
Ultramarine Blue
- Any additional colors you like/have
Keep your flamables properly stored and your brushes clean!! Do NOT pour
anything down the drains!
Throughout the semester the instructor
may add other materials to the supply list, as they are needed. Students will be expected to replenish any
materials that are running low before class begins each day.
Besides Artisans (in town) you can
always order stuff online! Look for sales and pass info along!
www.dickblick.com free
shipping on orders over $200 (good for group orders)
Suggested reading material:
“The Oil Painting Book:
Materials & Techniques for Today’s Artist” by Bill Creevy
“The Art Spirit” by
Robert Henri
“The Artist Handbook of
Materials and Techniques” by Ralph Mayer
WEBLIOGRAPHY
Art Studio Chalkboard : Resource for artists
and art students that focus on the technical fundamentals of perspective,
shading, color and painting.
FIgure Drawing Lab : This site is devoted to
better understanding of the elements that make up the human figure and how to
better portray them.
One-Point Perspective : Step-by-step
instructions for basic one-point are presented on this site.
The Geometry of Seeing (Getty Museum Exhibit)
Books and printed images to paintings and sketches, and from miniature pop-up
theaters to early surveying devices, demonstrates the development of
perspective.
Tours of Old Master Drawings : Database of
approximately sixty drawings and oil sketches of European Old Masters.
The Alphabet of Art : This site explains, in simple
terms, the elements of visual design.
Drawing Materials and
Techniques : A table with links to definitions and descriptions of drawing
techniques and materials.
Disclaimer: The instructor reserves
the right to make changes to anything about this class, including requirements,
schedule, assignments, etc., at any time during the semester. All changes will
be announced in class. It is the student’s responsibility to be in class to
hear possible changes and adjust accordingly. No excuses for failure to adjust
to changes in this course will be heard.
_________________________________________________________________________________
ARTS 205.002 Introduction to Life
Drawing & Painting – Spring 2013- M. Cornelia Oliver
I have read and understand the
contents of the syllabus for the above course, including the course risk
factors. I am responsible for following all regulations for this course as
outlined in the syllabus.
Print name_____________________________________
Sign
name_____________________________________ Date______________
Email_________________________________________
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